Artist Statement

I make art in my head, from my heart, and through my body.

This project has been in my head for over a decade. In 2000, I conducted research on US-based black artists and performance art for a chapter of my graduate thesis. However, I failed to find adequate evidence that black artists have been invested in performance art since the 1950s. I knew this was not due to a lack of involvement. After all, a central figure to the formation of Fluxus was Benjamin Patterson, a black man born in Pittsburgh, Pennsylvania, in 1934. To say the least, I was frustrated in my tireless pursuit to mine a legacy of performance art distinct from, but part and parcel to, a broader history of mid- to late-twentieth-century African American art. Rather than lament the lack of historical interest in US-based black artists and performance art, I chose to imagine my own history.

My heart was in this project. For six consecutive months of public performances, I was raw, intense, and fearless. During that time, I also suffered dark moments of personal crisis, but the luminosity of Anthology guided me through that gloom. This project saved my life.

Moreover, the twenty-six artists who contributed the scores that structure both the live performances and the exhibition drive the emotional gestalt represented in this body of work. I was the conduit for transmitting profoundly powerful messages from a group of enormously talented artists.

The presence of and engagement with the audience in the live performances was critical to this project. Audience members kissed me, kicked me, slapped me, embraced me, dragged me, hoisted me, humiliated me, humbled me, befriended me, loved me, hated me, harmed me, hurt me, moved me, touched me, abandoned me, rescued me, stalked me, harassed me, intimidated me, frightened me, abused me, used me, exploited me, repulsed me, and some would later fuck me. Of course, in the spirit of the “social contract” of performance art, it was consensual.

from Clifford Owens: Anthology. New York: Museum of Modern Art PS1, 2012.

Clifford Owens, Anthology (Nsenga Knight) (2011) Archival pigment print (60” x 40”)

Courtesy of the artist

Clifford Owens, Anthology (Nsenga Knight) (2011) Archival pigment print (60” x 40”)

Courtesy of the artist

Nsenga Knight

Come Clean

Using water and at least two additional materials or substances amounting to any odd number, clean everything in one entire room.

This performance may be executed with the assistance of an audience.

Clifford Owens, Anthology (Jennie C. Jones) (2011) Archival pigment print (30” x 40”)

Courtesy of the artist

Jennie C. Jones

Score Against Sustained Ideas (Getragen)

Clifford Owens, Anthology (Senga Nengudi) (2011) Archival pigment print (30” x 40”)

Courtesy of the artist

Clifford Owens, Anthology (Senga Nengudi) (2011) Archival pigment print (30” x 40”)

Courtesy of the artist

Senga Nengudi

Sweep

Sweep is built on the premise that pretty much most people world wide, from the age of 2 up have engaged in the activity of sweeping. Sweeping stuff up is a common thread through all cultures. It may be meditative as well as satisfying and even creative.

For this performance you are using sand as the substance to be manipulated by the broom that you sweep into ever changing forms/ designs. You may do as many forms as you like. But I think three should probably be sufficient.

After completing the third form ask someone in the audience to join you to create their own design.

Particulars This performance works best on a concrete or cement floor.

You will need 50lb bag of regular all purpose sand. Play sand is okay. It is usually whiter and of a finer grain. 2 regular brooms: Paint the brooms two tone, top...